Archive for composition
Better Portrait Sales using Less Props
Posted by: | CommentsMany photographers do promotions that involve special props. Christmas decorations, chicks, bunnies, and lambs at Easter are popular themes. Although these themes might be eye catching and make great photographs, these same props may be hurting your sales.
When an image has only one specific use that is all you are going to get out of it.
For example, a family needs Christmas holiday portraits for their Christmas card. If your family group arrives in all red sweaters, or you have very Christmassy props, what do you think the chances are for this to become a wall portrait above the fireplace in their very neutral family room? No, it will only be purchased as a Christmas card.
What about spring specials using little chicks? You may find that the chicks are quite popular and book a lot of sessions but is this wall image possibilities? Will this client hang a very seasonal image on the wall? Yes, a few might but my advice is to take a few images with the chicks and a few images without. Show both to your client and see what happens. You may find your sales are actually better without the chicks even though the original draw was the chicks. It certainly won’t hurt to give that a try.
If it is possible to create a more neutral, timeless image you will find you will get more sales from that image.
PS – Be sure to check into your local laws, licenses, or guidelines about working with animals before you bring them into your studio. You might be surprised to find out there are restrictions and what they are.
Five Tips for Working with Outdoor Light
Posted by: | CommentsPhotography is all about recording reflected light. Many beginners and amateurs are not yet familiar with how to see light and know what to look for yet. It can be quite a challenge to find locations that are suitable for outdoor portraits but there are some things you can use to your advantage. Here are five getting started tips:
- Photograph in the shade. Raccoon eyes, squinting eyes, deep dark shadows, and images with no catch lights in the eyes do not make a pleasing portrait. Place your subject in the shade with open sky as your main light source. This takes practice and deliberate study to find this kind of light. Going deep into the woods in too thick of shade is not going to give you a nice lighting pattern. By staying closer to the edge of the shade you will have great light coming from open sky.
- Photograph late or early in the day. This is often referred to as “Sweet Light”. An hour after sunrise and an hour before sunset is really beautiful light. The light is more even light and shadows are long and soft.
- Use a reflector. Reflectors work great to fill shadows and give a little kick of sparkle in the subject’s eyes. I personally use the gold side the most.
- Use a fill flash. When working in brighter conditions or wanting to include dramatic sky in your portrait images a fill flash is required to balance the lighting conditions for a proper exposure.
- Watch for color reflections. Color from items like green trees and red paint on a building, for example, will reflect into a person’s skin tone and shadows. This is not a desired outcome and will look unnatural. Be careful how close you are to strong color reflections. You can also correct minor color shifts in the artwork stage of your final image.
Of course you still must meter correctly, white balance, and process your files. But the more you get right in your camera first the easier the rest of the process is.
From Boring to Awesome-Include an Item of Interest
Posted by: | CommentsTwelve Elements of Composition
Tips for Remarkable Photographs
Part 11-Center of Interest
Many amateur images are not very interesting because there is not a center of interest, an item or subject that is the main focus of a beautiful scene. So often we just snap a picture with no thought to its lack of impact. Landscape images are a bit more difficult to find scenes with a center of interest available.
This beach scene on the left, although nice, is not a breathtaking image to start with but it will work to demonstrate a scene without a center of interest. The eye does not really know where it is supposed to look. I added a center of interest with this Hawaiian lea for the image on the right. The photograph is still not an award winning image, but it now demonstrates a complimentary and believable focal point in the scene.
I love this bridge (on the left of the pair above), but it is a boring photograph. As a primarily portrait photographer, I would have loved an appropriately dressed couple to pose in the scene. Place them on the right third and wa la! The railing becomes a leading line to the subjects.
Okay, the right bridge image above is more interesting than the previous one, as the bridge itself is an impressive one and the angle I shot it at is nice. But it is still missing a real center of interest.
Imagine how much stronger of an image yet, if there was a horse and buggy crossing the bridge or a large bird in the air-facing the correct way (into our image) and at the intersection of thirds. Getting all of those elements right is challenging and not always possible. That is why nature and wild animal photography is so challenging. Waiting for all of the pieces to come together at the right time of day as well.
This awesome place is the road to Hana, a town in Maui, Hawaii. There are many waterfalls on this drive. Some you can see and some you must hike for. Most of the bridges are one lane only and the roads are extremely winding. If you ever go, driving after dark is not a fun time.
Center of Interest is more challenging to make happen. If you add the item yourself, you run the risk of being too contrived and not very real. Try to find something that is natural to the scene and believable.
By including the surf board in the picture, the same scene becomes a little more interesting.
Remember that center of interest does not mean that you center the item. The item is just an interesting subject to compliment the landscape and makes the image more visually appealing.
About Barb
Barb Gordon, of www.BarbGordonPhotoCoach.com, is a Master Photographer, Photographic Craftsman, and Certified Professional Photographer with the Professional Photographers of America (PPA) to which she has belonged since 1984. She is a nationally published and award winning photographer, entrepreneur, speaker, and author including being published in the prestigious PPA Loan Collection 2006, PPA Showcase 2003, twice named Iowa’s Top Ten Photographer of the Year, and 2010 Iowa’s Master Photographer of the Year.
Don’t Bonk Her Nose
Posted by: | CommentsTwelve Elements of Composition
Tips for Remarkable Photographs
Part 10-Looking into the Frame
By Barb Gordon, M.Photog., CR, CPP
Using the same image I am able to demonstrate how much stronger the image on the left is because the model has space to look into. On the right she feels like she is going to bump her nose if she takes a step.
We don’t want to bonk the model’s nose by getting her so close to the edge that if she moved forward she wouldn’t be able to stay in the frame. I think you can tell that the right image just feels easier to look at as well.
About Barb
Barb Gordon, of www.BarbGordonPhotoCoach.com, is a Master Photographer, Photographic Craftsman, and Certified Professional Photographer with the Professional Photographers of America (PPA) to which she has belonged since 1984. She is a nationally published and award winning photographer, entrepreneur, speaker, and author including being published in the prestigious PPA Loan Collection 2006, PPA Showcase 2003, twice named Iowa’s Top Ten Photographer of the Year, and 2010 Iowa’s Master Photographer of the Year.
Stop the Action Fast
Posted by: | CommentsTwelve Elements of Composition
Tips for Remarkable Photographs
Part 9-Shutter Speed
By Barb Gordon, M.Photog., CR, CPP
Selecting how much of an image is in focus is another way to control the outcome of a photograph. This is also called selective focus.
You may want to freeze the action of a sports moment, or like in the image on the right, catch the scarf in the air. I did this at 1/125 at f8.
Maybe you would like to show a bit of motion with some blur by using a little slower speed. This would demonstrate the speed of a race car, speed boat, or a runner. Exactly what speed you need to use will take a little experimentation.
About Barb
Barb Gordon, of www.BarbGordonPhotoCoach.com, is a Master Photographer, Photographic Craftsman, and Certified Professional Photographer with the Professional Photographers of America (PPA) to which she has belonged since 1984. She is a nationally published and award winning photographer, entrepreneur, speaker, and author including being published in the prestigious PPA Loan Collection 2006, PPA Showcase 2003, twice named Iowa’s Top Ten Photographer of the Year, and 2010 Iowa’s Master Photographer of the Year.
Selective focus directs attention
Posted by: | CommentsTwelve Elements of Composition
Tips for Remarkable Photographs
Part 8-Depth of Field
Selecting how much of an image is in focus is another way to control the photograph. This is also called selective focus.
The depth and selective focus is controlled by the focal length of your lens, the distance you are from your subject, and the f stop selected. (Details on this is my article how to use your camera settings)
The only place I look is this rooster’s beady little eye, beak, and the red thing on his head because it is the only area in focus. Even though your eye is typically drawn to the lightest area of the photograph, which in this case are the light feathers, I still get pulled to the intense expression of his eye. Notice the impact created by placing the face on the right 1/3 of the image, the rule of thirds in action again.
Selectively focusing on one subject is a great technique to use on close up shots or if the background is very busy.
Peaking through the flowers adds a bit of fun as well as drawing you into the girl’s face.
About Barb
Barb Gordon, of www.BarbGordonPhotoCoach.com, is a Master Photographer, Photographic Craftsman, and Certified Professional Photographer with the Professional Photographers of America (PPA) to which she has belonged since 1984. She is a nationally published and award winning photographer, entrepreneur, speaker, and author including being published in the prestigious PPA Loan Collection 2006, PPA Showcase 2003, twice named Iowa’s Top Ten Photographer of the Year, and 2010 Iowa’s Master Photographer of the Year.
Patterns, leading lines, triangles for composition.
Posted by: | CommentsTwelve Elements of Composition
Tips for Remarkable Photographs
Part 7-Patterns and lines, curves, triangles
Look for repeating lines and patterns to enhance your images. Posts, pillars, fencing, can lead your eye toward your subject. Repeating patterns and shapes can add interest.
An awesome triangular composition is created with three faces.
I drew in the triangle for emphasis.
Framing the subject with the frame in the background adds impact to the composition.
Leading lines draw you to the girl's face.
Patterns, like in this grid, add drama.
Texture is the Key
Posted by: | CommentsTwelve Elements of Composition
Tips for Remarkable Photographs
Part 6-Using textures
I love texture. Texture creates subtle interest without detracting from the subject especially in portraiture. What exactly is texture? Texture is bumpy stuff like an oil canvas painting, the parts dust collects on, ribbing of a cable sweater, peeling paint, hair, grass, basically anything not smooth.
Texture gives something for light to bounce over and around. A really light solid shirt reflects too much light back and becomes a hot spot and a solid black shirt sucks up all the light giving you a flat, lifeless black hole and a floating head. Although I love sci-fi and black holes are amazing, I do not want them in my photos.
For you beginning studio owners, get an actual cable knit sweater, or a waffled piece of fabric, anything to demonstrate to the client in person what texture is in addition to showing good images. I have found working with many clients over the years that if I don’t really explain it and use visuals, the customer really doesn’t get it, but they don’t know that they didn’t get it. They sometimes mistake a variety of colors as texture. Plaids and strips are not texture, save that for decorating.
Great texture is found in all of nature. I was so fascinated with this species of palm in Hawaii.
A cable knit sweater is great texture. Hair is texture also!
About Barb
Barb Gordon, of www.BarbGordonPhotoCoach.com, is a Master Photographer, Photographic Craftsman, and Certified Professional Photographer with the Professional Photographers of America (PPA) to which she has belonged since 1984. She is a nationally published and award winning photographer, entrepreneur, speaker, and author including being published in the prestigious PPA Loan Collection 2006, PPA Showcase 2003, twice named Iowa’s Top Ten Photographer of the Year, and 2010 Iowa’s Master Photographer of the Year.
Add Interest to your images with the Foreground
Posted by: | CommentsTwelve Elements of Composition
Tips for Remarkable Photographs
Part 5-Using the foreground
A strong and interesting image can be achieved by including a lot of foreground leading to the subject. For an environmental portrait use enough depth of field so your image is sharp front to back to tell the story.
This is not a riveting example but it is a good example of recomposing the image to include foreground interest. I wanted to show my family the cedar posts that my husband used for our front porch. Photographing just the posts up close was kind of boring. So I backed up to include some more of the hard work my husband has done in our driveway. The rock has now created an interesting foreground that leads to the cedar posts.
A picture of a bench alone would not be so interesting but with the grass foreground adding depth, space, and texture the subject matter is strengthened.
Notice the bench is placed at the intersection of thirds.
About Barb
Barb Gordon, of www.BarbGordonPhotoCoach.com, is a Master Photographer, Photographic Craftsman, and Certified Professional Photographer with the Professional Photographers of America (PPA) to which she has belonged since 1984. She is a nationally published and award winning photographer, entrepreneur, speaker, and author including being published in the prestigious PPA Loan Collection 2006, PPA Showcase 2003, twice named Iowa’s Top Ten Photographer of the Year, and 2010 Iowa’s Master Photographer of the Year.
Placing the Horizon Line
Posted by: | CommentsTwelve Elements of Composition
Tips for Remarkable Photographs
Part 3-Where to put the horizon line
Now that we have talked about centering and rule of thirds, you will find that a centered horizon line is not very inspiring either. Placing the horizon line on the upper third or lower third of the composition, it will make the image more interesting. If you have a person in the photo you will want to avoid having the line of the horizon intersect through their head.
In addition to the actual horizon line in the lower third of the image, I also wanted the sun, which is the center of interest, to be in the lower third as well so it was not in the center. I was on a beautiful beach in Maui, Hawaii.
